one in its first week in the U.S. The film did well at the box office, earning some $79 million in the U.S. and Canada, as well as some $157 million worldwide against its $27 million budget. Reception On review aggregator website Rotten Tomatoes, Limitless has an approval rating of 69% based on 199 reviews, with an average rating of 6.4/10. The site's critical consensus reads, "Although its script is uneven, Neil Burger directs Limitless with plenty of visual panache, and Bradley Cooper makes for a charismatic star." Metacritic assigned the film a weighted average score of 59 out of 100, based on 37 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale. Roger Ebert of the Chicago Sun-Times gave the film 2.5 out of 4 stars and said it was "not terrifically good, but the premise is intriguing" and also stated that director Neil Burger uses "inventive visual effects." Lastly, adapting a line from the movie, he said, "Limitless only uses 15, maybe 20 percent of its brain. Still, that's more than a lot of movies do." Kirk Honeycutt of The Hollywood Reporter wrote, "Limitless should be so much smarter than it is," believing that it took conventional plot turns and stuck closely to genre elements like Russian gangsters and Wall Street crooks. Honeycutt reserved praise for Cooper, Abbie Cornish, and Anna Friel. He also commended cinematographer Jo Willems' camerawork and Patrizia von Brandenstein's production design in the film's array of locales. Varietys Robert Koehler called Limitless a "propulsive, unexpectedly funny thriller". Koehler wrote, "What makes the film so entertaining is its willingness to go far out, with transgressive touches and mind-bending images that take zoom and fish-eye shots to a new technical level, as the pill enables Eddie to experience astonishing new degrees of clarity, perception, and energy." He said of Cooper's performance, "Going from grungy to ultrasuave with a corresponding shift in attitude, Cooper shows off his range in a film he dominates from start to finish. The result is classic Hollywood star magnetism, engaging auds [audiences] physically and vocally, as his narration proves to be a crucial element of the pic's humor." The critic also positively compared Willems' cinematography to the style in Déjà Vu (2006) and commended the tempo set by the film's editors Naomi Geraghty and Tracy Adams and